Brace yourself for a shocker: superhero movies in 2025 are basically done. Yup, we're not even through the second half of the year, and both Marvel and DC have alredy emptied their release schedule. The grand total? Just four movies. Four!
That's a laughably tiny number when you think about the last decade, when you couldn't blink without Marvel or DC shoving another "must-watch" blockbuster in your face. But here's the twist, despite the reduced output, 2025 might actually go down as one of the stronger years for the genre. Not because of sheer quantity, but because of a few narrative shifts that made these films stand out compared to the assembly-line productions of yesteryear.
So what do these movies have in common? What does that tell us about the current state of superhero filmmaking? And what does it mean for the future of spandex-clad cinema? Let's dig in.
(Oh, and yeah spoilers ahead. You've been warned)
Captain America: Brave New World the MCU on autopilot
The superhero year kicked off in February with Captain America: Brave New World, the first film to put Sam Wilson in the spotlight as Cap. And...let's just say it wasn't exactly the fireworks opener Marvel was hoping for.
The villains? Forgettable. The espionage plot? Varely inspired. The action? Serviceable, but not enough to save the whole thing. It's the textbook definition of what people mockingly call a "toy commercial disguised as a movie." Basically, Marvel played it as safe as possible, and the result was cinematic whiite noise.
Thunderbolts* depression as the big bad (and it works?)
Thankfully, things took a turn for the better in May with Thunderbolts*. Is it groundbreaking cinema? Absolutely not. But in the context of the MCU, it felt refreshingly different.
Instead of another soulless world-ending threat, Thunderbolts* zeroed in on mental health and support systems, with depression itself acting as the villain. It's darker, moodier, and more character-driven than Marvel's usual output. The muted aesthetic wasn't laziness this time, but a deliberate choice to match the film's themes. Who knew Marvel could actually color inside the lines and still make it interesting?
Superman (directed by James Gunn) a fresh start for DC
Then came July's crown jewel: James Gunn's Superman. Not only was it DC's sole entry this year, but it also marked the beginning of Gunn's shiny new DC Universe.
And against all odds, Gunn pulled it off. His Superman feels both original and true to the character's core, a hero defined not just by strength, but by empathy, hope, and (gasp) emotional vulnerability. Instead of "the strongest man alive saves the day again," we got a genuine identy crisis, with Clark trying to figure out his place in the world. It's heartfelt, human, and honestly the kind of reinvention DC desperately needed.
Fantastic Four: First Steps finally, they got it right
Closing out the summer, Marvel delivered Fantastic Four: First Steps in July easily one of the most anticipated (and dreaded) superhero movies of the year. After decades of cinematic disasters, expectations were low. But surprise, surprise: they finally nailed it
Instead of lazily reteling the same origin story, this version leaned into two things the comics always did best: sci-fi weirdness and family drama. The result? A film that actually feels like the Fantastic Four
And the emotional core hits hard the main conflict isn't just "beat the giant space god." It's Reed and Sue facing a heartbreaking dilemma when Galactus demands they sacrifice their son to save Earth. Sunddenly, the stakes are both cosmic and deeply personal. The movie asks: who do you save first, the world or your family? And the answer, beautifullt, is both.
Why 3 of these films worked?
Step back, and you'll notice a pettern. Three of the four standout films (Thunderbolts*, Superman, Fantastic Four) did two things Marvel and DC have historically struggled with:
1. Looser ties to their cinematic universes
The exhausting "homework effect" of having to watch 20+ other projects just to get a new movie is dying out. Yes, these films still exist in their respective universes, but they weren't shackled by endless cameos and crossovers.
- Thunderbolts* kept some MCU baggage, sure, but its tone and theme made it feel distinct
- Superman had it even easier. A total rebbot, clean slate, no baggage.
- Fantastic Four took place in an alternate reality, freeing it from Marvel's tangled continuity
2. More emotional storytelling
Instead of relying on flashy battles and CGI spectacle, these movies went deeper:
- Thunderbolts* turned trauma and depression into literal antagonists.
- Superman explored identity, purpose, and empathy
- Fantastic Four put family bonds at the center of the narrative
Compare that to Captain America: Brave New World, which clung to the old Marvel playbook: overstuffed continuity, shallow villains, and only the faintest whiff of emotional stakes. It's no wonder it landed with a thud.
Behind the scenes: Why 2025 feels different
Here's where it gets even more interesting. The shift in tone wasn't accidental.
- Marvel's strategy reset. Kevin Feige himself admitted they went overboard after Endgame, drowning fans in a flood of movies and Disney+ shows. His words: "quality over quantity." And with fewer releases, the studio actually managed to put more focus into some projects. (Some, not all. Looking at you, Cap.)
- DC's new rules under James Gunn. Gunn, having lived through Marvel's machine, put his foot down at Warner Bros: no movie goes into production without a finished script. Radical, I know. Combine that with the fact Warner isn't pressuring him for a set number of yearly releases, and suddenly DC has a chance to avoid Marvel's mistakes.
So, what's next for superhero movies?
Does this mean superhero fatigue is cured? Not so fast
The future of DC looks promising under Gunn if the studio doesn't meddle too much. Marvel, on the other hand, seems eager to fall back into old habits. Their next big event? Another Avengers crossover. And guess what: they've started filming without a finalized script. Actress Rebecca Romijn (returning as Mystique) even admitted she's not sure if she's done shooting because they keep rewriting. Déja vu, anyone?
When I realized 2025's superhero season was already over, I was shocked but also, kind of relieved. With fewer movies, I actually paid closer attention. And surprise, surprise: the overall quality went up.
Out of four films, three were good (one even great). That's a better batting average than Marvel and DC have had in years. Sure, the reduced output makes it feel like a transitional yeat. but maybe that's exaclty what the genre needs: less saturation, more care.
If the future holds fewer, better superhero films, ones that balance spectacle with genuine emotion, then I'm all for it. And if 2025 is any indication, maybe spandex cinema isn't dying after all, it's just...finally learning how to breathe.